Pratique du Shadowing: The Ticketmaster monopoly is over, now what? - Apprendre l'anglais à l'oral avec la vidéo
Création de la leçon...
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In 2022, outrage around predatory concert ticket pricing came to a head when tickets went on sale for Taylor Swift's Errors Tour.
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Tears and anger as ticket sites crash for millions of Taylor Swift fans.
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Extensive wait times, steep fees, and glitches.
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Tickets were going for as much as $499 before fees.
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And though it's not the first time fans and artists have complained about Ticketmaster, that moment became a turning point.
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Congress even held hearings and quoted song lyrics.
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I think it's a nightmare dressed like a daydream.
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The meltdown around the Arrows tour exposed how Ticketmaster and Live Nation had become the gatekeepers to most major live music experiences.
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And in April 2026, a federal jury ruled against this ticketing monopoly.
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Breaking news, a verdict has been reached in the antitrust trial against entertainment giant Live Nation.
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A federal jury has found Live Nation and its subsidiary, Ticketmaster, have been operating as a monopoly.
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And the story is far from over.
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So there will be a whole other round of litigation now.
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And there's really only one question anyone cares about.
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Will tickets get cheaper?
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Ticketmaster and Live Nation first merged in 2010.
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The DOJ allowed it to go through with what's called a consent decree, which is like a contract between the government and the merging parties.
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One of the important things they promised not to do was to condition Live Nation concerts
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and tours on a venue taking Ticketmaster for its whole season.
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Basically, they can't say, if you want our concerts, you have to use Ticketmaster.
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But it wasn't until 2024 when the government stepped in.
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The DOJ, under former President Biden and 40 states, sued Live Nation.
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The allegation?
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Live Nation used its power across concerts, venues, and ticketing to shut out competitors, locking venues into exclusive deals with Ticketmaster.
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They were claiming that Ticketmaster and Live Nation were violating this part of the consent decree, that they were sort of, in some cases, coercing explicitly,
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sometimes implicitly, these venues into using Ticketmaster if they wanted any of the concerts that Live Nation promotes.
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But by the time the case is ready to go to trial, the politics change.
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Donald Trump is elected in 2024, and when the trial begins in New York in March 2026, the federal government settles.
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The settlement that is not yet final is a few what I would call sort of band -aids over the competitive problems.
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Under the settlement, Live Nation would divest interests in 13 venues, allow venues to use competing ticket services without retaliation,
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and cap certain Ticketmaster service fees at about 15 % at venues it controls.
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A lot of people have been coming out against the settlement and saying, it's really kind of a slap on the wrist.
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32 states and the District of Columbia reject the settlement and bring the case to trial themselves.
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And they won.
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After a five -week trial, the verdict came down and the jury sided with the states.
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The jury found that they monopolized two markets.
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One was the market for ticketing platforms.
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This is the Ticketmaster product.
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They also monopolized the market for amphitheaters And they even found a number,
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$1 .72, upcharges that resulted from this maintained monopoly power.
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Next, the judge needs to decide what the punishment is.
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And Live Nation has said they will appeal.
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The states are expected to ask for a breakup, but Live Nation will probably ask for something similar to the deal they already worked out with the DOJ.
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Live Nation could be expected to argue, look, we're already in this agreement with the DOJ.
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This covers it.
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I think that if there's a good remedy here, and that's a big if, then I think consumers can expect over time to see a lot more benefits than just $1 .72.
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I think they can see better innovation in ticketing platforms, which we know has been a problem.
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I think they can see lower fees even than that number.
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But one thing that's not going to happen, it is these hundreds and sometimes thousands of dollars paid for these big, extravagant, once -in -a -lifetime type of concerts.
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I think they're still going to be very expensive.
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The cost of concerts keep going up, and not just for fans, for promoters, for the venues that put on these shows, and most notably for the artists.
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That's because over the last two decades, the music industry completely changed how artists make money.
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Streaming made music cheap and touring became the business.
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On a $100 ticket, including fees, you're looking at the artists getting 75 to 80 % of that ticket price.
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The artist portion is going to pay for the tour bus, to going to pay for gas, flights, the crew.
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A portion of the ticket, approximately 10%, goes to the venue.
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And then it goes to the ticketing company.
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They get paid on every single ticket sold.
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Even if Live Nation and Ticketmaster are forced to split, a breakup isn't a price cut.
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Which raises the question, how does this ruling change things for the fans?
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Ultimately, what is this going to mean for fans right now? not much.
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However, I think it's important to note there are other things that are better for fans, even if it doesn't mean a dramatic decrease in prices.
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More competition is a good thing.
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If you have five ticketing platforms instead of one, they have to compete on the fees.
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That could trim the service charges and the processing fees, the stuff that turns your $89 ticket into $130.
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Still, this doesn't mean people are going to see huge price cuts for tickets to large shows.
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And despite the cost, concert attendance is at an all time high.
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Gen Z has spent an average of $2 ,100 on concert tickets over the past two years.
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And they're even going into debt choosing buy now, pay later options to buy tickets.
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Most of the drive behind those really big expensive concerts is just people's willingness to pay.
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You know, boomers will pay anything to see Bruce Springsteen one more time.
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Millennials will pay anything to see Taylor Swift.
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It's just the nature of people having money to spend, the importance of these experiences that have driven prices really high.
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That doesn't mean that there's some amount of that that is from ticketing and the promotion services, but it's not maybe the big ticket item, so to speak.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale s’appuie sur la vidéo « The Ticketmaster monopoly is over, now what? ». Les mots qui reviennent le plus souvent : ticket, Nation, Ticketmaster, concert, venue. Cette vidéo contient 74 phrases et 1057 mots à répéter en shadowing. La partie parlée dure 6:03. Le locuteur parle à un rythme naturel d’environ 175 mots par minute, proche d’une conversation courante. 82 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
15 mots de la vidéo à retenir, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| venue nom | /ˈvɛnjuː/ | lieu, salle |
| monopoly nom | /məˈnɑpəli/ | monopole |
| compete verbe | /kəmˈpiːt/ | rivaliser, concourir |
| consent verbe | /kənˈsɛnt/ | consentir, approuver |
| verdict nom | /ˈvɜː.dɪkt/ | verdict |
| decree nom | /dɪˈkɹiː/ | décret |
| merge verbe | /mɝd͡ʒ/ | fusionner, amalgamer |
| breakup nom | /ˈbɹeɪk.ʌp/ | rupture |
| argue verbe | /ˈɑɹ.ɡju/ | affirmer, débattre |
| anger nom | /ˈæŋɡə/ | colère, ire |
| dramatic adjectif | /dɹəˈmætɪk/ | dramatique |
| promotion nom | /pɹəˈmoʊʃn̩/ | promotion |
| lifetime nom | /ˈlaɪf.taɪm/ | durée de vie, vie |
| settle verbe | /ˈsɛtəl/ | régler |
| lyrics nom | /ˈlɪɹ.ɪks/ | paroles |
Les verbes à particule que vous entendrez
| Mot | Sens |
|---|---|
| come down verbe | descendre, tomber |
| go up verbe | monter, s'élever |
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Present perfect continu have/has been + -ing — une action commencée avant et toujours en cours | have been operating · have been coming |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | have complained · has been reached · has found |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | has been reached · is elected · are expected |
Prononciation à surveiller
Le locuteur utilise 10 contractions et formes réduites, comme doesn't, they're, can't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: promotion /pɹəˈmoʊʃn̩/, punishment /ˈpʌnɪʃmənt/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
- Mots longs — placez bien l’accent: monopoly /məˈnɑpəli/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, subsidiary /sʌbˈsɪ.di.əɹ.i/, competitor /kəmˈpɛt.ɪ.tɚ/
Les sons difficiles pour les francophones :
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: merge /mɝd͡ʒ/, outrage /ˈaʊt.ɹeɪd͡ʒ/, glitch /ˈɡlɪt͡ʃ/
- /r/ anglais — langue recourbée, sans frotter la gorge: decree /dɪˈkɹiː/, breakup /ˈbɹeɪk.ʌp/, argue /ˈɑɹ.ɡju/, dramatic /dɹəˈmætɪk/, promotion /pɹəˈmoʊʃn̩/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme venue, monopoly, compete.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.